DOCSLIB.ORG

NATALIA GUTMAN, Cello

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NATALIA GUTMAN, Cello NATALIA GUTMAN, Cello Natalia Gutman es uno de los músicos más apreciados del mundo, a menudo nombrada como la “Reina del Violonchelo” por el público y la crítica. Ha recibido numerosos premios como el National Artist de la URSS (1991), Premio Estatal de la Federación de Rusia (2000), La Orden del Mérito de la República Federal de Alemania (2005), Premio Shostakóvich (2002 y 2013), Triumph Award (2002), Amigos del Royal College of Music de Londres (2010), Premio de Música de la Asociación Alemana de Konzertdirektionen (2012) y Premio NEM en Florencia (2014). Después de terminar su formación musical con la profesora Galina Kozolupova y graduarse en el Conservatorio de Moscú, Gutman continuó sus estudios de postgrado en el Conservatorio de Leningrado con Mstislav Rostropovich, quien la invitó a formar parte del personal pedagógico del Conservatorio de Moscú antes de terminar sus estudios. Desde 1959 ha participado en diversos concursos internacionales, ganando ese mismo año la Medalla de Oro en el Vienna Youth Festival. En 1961 recibió el primer premio en el Concurso Internacional Dvořák de Praga y en 1962 el tercer premio en el Concurso Tchaikovsky. En 1967 junto a su compañero de dúo, el pianista Alexei Nasedkin, Gutman fue galardonada con el primer premio en el Concurso ARD de Múnich. En 1969 debutó en el Carnegie Hall de Nueva York, interpretando el Schelomo de Bloch y el Concertino de Prokófiev junto al director Leopold Stokowksi. A su regreso a Moscú, las autoridades rusas prohibieron a Gutman viajar al extranjero, impidiendo así continuar su carrera internacional durante 10 años. En Rusia, sin embargo, su carrera en solitario creció, actuando y grabando con directores soviéticos de renombre como Kondrashin, Svetlanov, Rozhdestvensky y Temirkánov. La música de cámara es otro de los intereses de Natalia Gutman, que formó dúo con el violinista Oleg Kagan, su marido más tarde. Juntos formaron un trío con Sviatoslav Richter. Posteriormente, junto a Yuri Bashmet formaron un cuarteto y con Viktor Tretiakov un quinteto. Juntos exploraron todo el repertorio de música de cámara. La extraordinaria interpretación del doble concierto de Brahms a cargo de Gutman y Kagan, así como gran parte del repertorio clásico fueron muy aclamados por la prensa internacional. También encargaron obras a muchos compositores como Sofía Gubaidulina, Edison Denisov, Vasily Lobanov y Tigran Mansuryan. A finales de 1970 y principios de 1980, Alfred Schnittke dedicó una serie de obras a Gutman y Kagan, incluyendo la primera sonata para violonchelo, el concierto Grosso núm. 2 para violín y violonchelo (1981), y el primer concierto para violonchelo (1984/5). En diciembre de 1978, Gutman obtuvo permiso para viajar de nuevo al extranjero y retomar su carrera internacional. Desde entonces, ha tocado en salas de prestigio de toda Europa bajo la batuta de directores de renombre como Celibidache, Aronovich, Rostropovich, Mazur, Sawallisch, Haitink, Muti, Saraste y Dudamel. La especial relación musical que tuvo con Claudio Abbado desde principios de 1980 ha dado lugar a muchas actuaciones juntos, con orquestas como la Filarmónica de Berlín, Joven Orquesta de la Unión Europea, Orquesta Gustav Mahler y la Orquesta Mozart. Desde 1992 hasta 2002, dirigió junto a Abbado las series de cámara "Berliner Begegnungen". Con los años, Gutman ha realizado innumerables grabaciones como los dos conciertos de Shostakóvich con la Royal Philharmonic Orchestra bajo la batuta de Temirkánov (RCA Victor), concierto de Dvořák con la Orquesta de Filadelfia junto a Sawallisch (EMI), concierto núm. 1 de Schnittke y concierto de Schumann con la Orquesta Filarmónica de Londres y Masur y en 2007 otra versión del concierto de Schumann con Abbado y la Mahler Chamber Orchestra. Junto a María Michel-Bayerle fundaron la compañía Live Classics con el fin de publicar las grabaciones de los conciertos en vivo con Richter, Kagan, Virsaladze, Bashmet, Lobanov, Brunner y muchos otros. Rogamos que el texto no sea abreviado o alterado sin el consentimiento previo de Agencia Camera. Actualmente Gutman es profesora del Conservatorio de Moscú, la Universidad Privada de Viena y la Escuela de Música de Fiesole en Italia. Realiza actuaciones en toda Europa, Lejano Oriente, América del Sur y los EE.UU. tanto como solista como con orquestas. Además, está solicitada en todo el mundo como distinguida profesora de clases magistrales. Rogamos que el texto no sea abreviado o alterado sin el consentimiento previo de Agencia Camera. .
Load more

Recommended publications
  • Explore Unknown Music with the Toccata Discovery Club
    Explore Unknown Music with the Toccata Discovery Club Since you’re reading this booklet, you’re obviously someone who likes to explore music more widely than the mainstream offerings of most other labels allow. Toccata Classics was set up explicitly to release recordings of music – from the Renaissance to the present day – that the microphones have been ignoring. How often have you heard a piece of music you didn’t know and wondered why it hadn’t been recorded before? Well, Toccata Classics aims to bring this kind of neglected treasure to the public waiting for the chance to hear it – from the major musical centres and from less-well-known cultures in northern and eastern Europe, from all the Americas, and from further afield: basically, if it’s good music and it hasn’t yet been recorded, Toccata Classics is exploring it. To link label and listener directly we run the Toccata Discovery Club, which brings its members substantial discounts on all Toccata Classics recordings, whether CDs or downloads, and also on the range of pioneering books on music published by its sister company, Toccata Press. A modest annual membership fee brings you, free on joining, two CDs, a Toccata Press book or a number of album downloads (so you are saving from the start) and opens up the entire Toccata Classics catalogue to you, both new recordings and existing releases as CDs or downloads, as you prefer. Frequent special offers bring further discounts. If you are interested in joining, please visit the Toccata Classics website at www.toccataclassics.com and click on the ‘Discovery Club’ tab for more details.
    [Show full text]
  • The Musical Partnership of Sergei Prokofiev And
    THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St.
    [Show full text]
  • Critical Success Factors in Cello Training – a Comparative Study
    Critical success factors in cello training a comparative study by Anzél Gerber Submitted in partial fulfilment of the requirements for the degree PhD Music (Performance Practice) in the Department of Music Goldsmiths College, University of London Supervisor Professor Alexander Ivashkin 2008 (ii) DECLARATION I, Anzél Gerber, the undersigned, hereby declare that this dissertation, submitted in partial fulfilment for the degree PhD Music (Performance Practice), is my own original work. Signed: _______________________ Anzél Gerber (iii) ABSTRACT The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical study was based on a sample of cello teachers in four countries selected for the study, namely Germany, Russia, the United Kingdom and the United States of America. A literature study, identifying a broad category of factors that could contribute towards successful cello training, formed the basis of the questionnaire. These critical success factors included the quality of the teacher, acquired skills, the talent and giftedness of the student, support rendered to the student, and the curriculum. Each of these factors comprised five sub factors. The respondents were required to rank these factors in order of importance. In the final analysis, they were requested to rank the five main factors. A statistical process of ranking (forced ranking) and Kruskal-Wallis was applied to rank and analyse the responses of the cello teachers in the survey. The critical success factors that contribute the most significantly towards successful cello training were identified and compared. ________________________________ (iv) PREFACE This study is in partial fulfilment for the degree PhD Music Performance at Goldsmiths College, University of London.
    [Show full text]
  • Click Here Artsforall.Ca to Find out More
    Click here artsforall.ca to find out more Presented by Winnipeg Cultural Capital of Canada and the Agassiz Music Fesitval JUNE 15-19 Supported by The Winnipeg Foundation Artistic Director Paul Marleyn Artists Featured Cellists Emerging Cellists Colin Carr United Kingdom Rachel Mercer Toronto, Canada Yina Tong Boston, United States Minna Rose Chung Winnipeg, Canada Brian Yoon Houston, United States Patrick Demenga Switzerland Thomas Demenga Switzerland Zara Nelsova Award for Canadian Cellists Finalists Yegor Dyachkov Montreal, Canada Christian Elliott Ottawa, Canada Denise Djokic Boston, United States Se-Doo Park New York, United States Natalia Gutman Russia Karen Ouzounian New York, United States Frans Helmerson Sweden Pianists Desmond Hoebig Houston, United States Frédéric Lacroix — pianist Ottawa, Canada Rafael Hoekman Winnipeg, Canada Janet Scott Hoyt — pianist Edmonton, Canada Yuri Hooker Winnipeg, Canada Paul Marleyn Ottawa, Canada Other artists Shauna Rolston Toronto, Canada Andrea Bell — conductor Winnipeg, Canada Kirk Starkey (electric cello) Hamilton, Christopher Dungey — cello luthier United States Eric Friesen — host Amherst, Canada Canada Anne Manson — conductor United States Jian Wang China Alexander Mickelthwate — conductor Winnipeg, Canada Jocelyn Morlock — composer Vancouver, Canada Thomas Wiebe London, Canada Manitoba Chamber Orchestra Leanne Zacharias Brandon, Canada Winnipeg Symphony Orchestra co-production Click here artsforall.ca Schedule to find out more DAY 1 Wednesday, June 15th DAY 4 Saturday, June 18th 12:00-12:45
    [Show full text]
  • Natalia Gutman
    Conciertos Grapa Natalia Gutman La violonchelista rusa Natalia Gutman recibió su primer formación musical a través de su abuelo Anisim Berlín y la profesora Galina Kozolupova, siendo más tarde discípula del violonchelista Mstislav Rostropovich, del difunto Sviatoslav Richter, y de su difunto esposo, el violinista Oleg Kagan. El Maestro Richter cierta vez expresó su admiración por Natalia Gutman diciendo: "... ella es una encarnación de la verdad en la música. " En 1967, Natalia Gutman ganó el Concurso ARD de Munich (donde en 2005 fue miembro del jurado), iniciando así el lanzamiento de su carrera internacional. Desde entonces ha actuado en todos los continentes con orquestas como la Filarmónica de Viena y Berlín, Sinfónica de Londres, Munich y Filarmónica de San Petersburgo, la Orquesta del Concertgebouw de Amsterdam y muchas más. Sus apariciones en festivales incluyeron el Festival de Verano de Salzburgo y el Berliner Festwochen y Wiener. Wolfgang Sawallisch, Riccardo Muti,Claudio Abbado, Haitink Bernhard, Yevgeny Svetlanov, Temirkanov Yuri, Sergiu Celibidache, Mstislav Rostropovich y Kurt Masur son los directores junto a quienes Natalia Gutman ha trabajado y sigue tocando. Conciertos Grapa Otro interés importante de Natalia Gutman es la música de cámara. Sus compañeros musicales regulares han sido Martha Argerich y Elisso Virsaladze, Yuri Bashmet, Lubimov Alexei, Sviatoslav Richter y Oleg Kagan. Ha estrenado numerosas obras contemporáneas y por ello, Alfred Schnittke le ha dedicado una sonata y su 1º Concierto para Cello. Las suites completas para cello solo de Bach fueron presentados por la Sra. Gutman en Moscú, Berlín, Munich, Madrid, Barcelona y otras ciudades. La Sra. Gutman se presenta a lo largo de todo el mundo, y sus apariciones en los EE.UU.
    [Show full text]
  • RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia.
    [Show full text]
  • Natalia Gutman VIOLONCELLO
    扫描关注微信订阅号 VIOLONCELLO / Natalia Gutman ARTISTIC ACHIEVEMENTS Russian cellist Natalia Gutman received her early musical training from her grandfather Anisim Berlin and Professor Galina Kozolupova, as well as artistic input from the late musicians, cellist Mstislav Rostropovich, pianist Sviatoslav Richter, and her husband, violinist Oleg Kagan. Maestro Richter once expressed his admiration for Natalia Gutman saying: “… she is an incarnation of truthfulness in music.” PERFORMANCES In 1967 Natalia Gutman won the Munich ARD Competition (where in 2005 she was a member of the jury), launching her international career. Since then she has performed on all continents with orchestras such as Vienna and Berlin Philharmonic, London Symphony, Munich and St. Petersburg Philharmonic, Concertgebouw Orchestra in Amsterdam and many more. Festival appearances include the Salzburg Summer Festival and the Berliner and Wiener Festwochen. Wolfgang Sawallisch, Riccardo Muti, Claudio Abbado, Bernhard Haitink, Yevgeny Svetlanov, Yuri Temirkanov, Sergiu Celibidache, Mstislav Rostropovich and Kurt Masur are among the many conductors who favour Natalia Gutman. Another major interest of Natalia Gutman is chamber music. Her regular musical partners have included Martha Argerich and Elisso Virsaladze, Yuri Bashmet, Alexei Lubimov, Sviatoslav Richter and Oleg Kagan. She has premiered many contemporary works; Alfred Schnittke dedicated a sonata and his first Cello Concerto to her. The complete Bach solo suites have been presented by Ms. Gutman all over the world, f. i. Moscow, Berlin, Munich, Paris, Milan, Madrid or Barcelona; Taiwan to follow in 2011. In 2008 another quartet tour with Yuri Bashmet, Viktor Tretjakov and Vassily Lobanov included many European cities. Visits to Taiwan, Canada, the US and many European countries completed the year.
    [Show full text]
  • 2014 Program Booklet
    Rebecca Penneys Piano Festival Second Year July 16 – August 1, 2014 University of South Florida, Tampa, Florida Rebecca Penneys Friends of Piano wishes to give special thanks to: Svetozar Ivanov for his kindness and artistic vision The University of South Florida for such warm hospitality USF administration and staff for their wonderful support and assistance USF piano tuner Glenn Suyker for his excellent expertise Devoted piano lovers and donors who make this festival possible The Rebecca Penneys Piano Festival is tuition-free for all students. It is supported entirely by charitable tax-deductible gifts made to Rebecca Penneys Friends of Piano Incorporated, a non-profit 501(c)(3). Your gifts build our future. Donate on-line: http://rebeccapenneyspianofestival.org/ Mail a check: Rebecca Penneys Friends of Piano P.O. Box 66054 St Pete Beach, Florida 33736 Become an RPPF volunteer, partner, or sponsor Email: [email protected] The family of Steinway pianos at USF was made possible by the kind assistance of the Music Gallery in Clearwater, Florida 2 FESTIVAL EVENTS Barness Hall, University of South Florida School of Music All events are FREE and open to the public (donations accepted at the door) Festival Concerts July 18 at 4pm Enrico Elisi and Rebecca Penneys Solo Music for a Summer Afternoon July 25 at 7pm 2 Pianos 4 Pianists 8 Hands 40 Fingers Extravaganza What Pianos & Pianists Do For Fun! – Combo Classics Soirée Legacy Series – 4pm July 21 Johnandrew Slominski Piano Suites July 23 Eunmi Ko Florida Premieres July 28 Omri Shimron A+ Music by First Rate B’s July 30 Howard Na Lesser-Known Wonders Daily Masterclasses Father Sean Duggan, Enrico Elisi, Christopher Harding, Svetozar Ivanov, Yong Hi Moon, Rebecca Penneys, Roberta Rust, Dmitri Shteinberg, and Ray Gottlieb (Attention and Memory Specialist) Ambassador Concerts by Festival Student Pianists July 21 University Village July 24 Westminster Shores July 29 Allegro July 31 Jewish Community Center and Federation July 31 ASPEC at Eckerd College August 1 St.
    [Show full text]
  • TOCC0485DIGIBKLT.Pdf
    IGOR RAYKHELSON’S PIANO AND CHAMBER MUSIC, VOLUME TWO by Paul Conway Reflecting the spirit of Neo-Romanticism which inhabits his scores, the pianist and composer Igor Raykhelson has stressed the primacy of melody in his music and defined his creative métier as ‘crossover’. He has also expressed the fervent wish that ‘music of the 21st century can be beautiful and can touch hearts and souls’.1 He was born in St Petersburg – then still called Leningrad – on 24 April 1961. At the age of five he started taking music lessons and was enrolled in 1976 at the Rimsky-Korsakov Conservatoire in Leningrad, where he studied both classical and jazz piano. He soon formed his own jazz quartet, The Emerging Stars, which toured extensively throughout the former Soviet Union. In 1979 Raykhelson moved to New York and took piano lessons with Alexander Edelman, going on to tour with such celebrated jazz musicians as Eddie Gomez, Joe Lock and Russia’s leading saxophonist, Igor Butman. At the same time, Raykhelson continued studying classical piano, performing chamber music, giving recitals and appearing as an orchestral soloist. In 1998 he met and quickly forged a close professional association with the violist Yuri Bashmet. A turning point in Raykhelson’s career came when he was asked by Bashmet to compose a work that would combine jazz and classical elements. The resulting Jazz Suite for viola, saxophone, piano and orchestra (1998) was extensively performed and widely acclaimed.2 After creating this seminal work, Raykhelson regarded composition as his primary musical pursuit. In April 2003 he made his Carnegie Hall debut with the well-received Adagio for viola and string orchestra (2002) performed by Bashmet and the Moscow Soloists 1 Booklet notes, Toccata Classics tocc 0055.
    [Show full text]
  • Intetfiatipnal "
    Intetfiatipnal" THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN From Moscow The State Symphony Orchestra oftheU.S.S.R. YEVGENY SVETLANOV Music Director and Conductor OLEG KAGAN, Violinist NATALIA GUTMAN, Cellist THURSDAY EVENING, OCTOBER 16, 1986, AT 8:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Concerto in A minor, Op. 102, for Violin, Cello, and Orchestra. ...... .BRAHMS Allegro Andante Vivace non troppo OLEG KAGAN and NATALIA GUTMAN INTERMISSION Symphony No. 2 in E minor, Op. 27 ........................ RACHMANINOFF Largo, allegro moderate Allegro molto Adagio Allegro vivace Melodiya/Angel and Columbia Records The State Symphony of the U.S.S.R. is the first Soviet orchestra to perform in the United States since 1979, and Ann Arbor is its first stop before continuing to Washington, D.C., Philadelphia, and New York. Prior to this evening's concert, the orchestra performed in Canada. In Ann Arbor the orchestra has given three concerts two in March 1969, and one in October 1975. Yevgeny Svetlanov is making his third Ann Arbor appearance; Oleg Kagan and Natalia Gtitman are heard tonight in their Ann Arbor debuts. Halls Cough Tablets, courtesy of Warner-Lambert Company, are available in the lobby. Seventh Concert of the 108th Season 108th Annual Choral Union Series PROGRAM NOTES by GLENN D. McGEOCH Concerto in A minor, Op. 102, for Violin, Cello, and Orchestra........................................ .JOHANNES BRAHMS (b. May 7, 1833; A. Apr. 3, 1897) In a letter to Clara Schumann, Brahms wrote concerning his concerto for
    [Show full text]
  • Tchaikovsky Trio
    Tchaikovsky Trio Pavel Vernikov, violin Alexander Chaushian, cello Konstantin Bogino, piano The Tchaikovsky Trio was formed in Moscow in 1975 by Pavel Vernikov, Konstantin Bogino and Anatoly Liberman. Since 2009 Alexander Chaushian has become the trio cellist. Brilliantly continuing traditions of the Moscow and St. Petersburg performance schools, the Tchaikovsky Trio has been the special milestone for the performance of the Slavonic and Russian composers in the genre of chamber music for many years. At the beginning of their careers the musicians won in the following International competitions: The ARD International Competition in Munich (1979), Grand Prix of Vittorio Gui in Florence (1979), International J.B.Viotti Competition in Vercelli (1991). The Tchaikovsky Trio obtained great acclaim, having performed almost 180 concerts between 1975 and 1978. Since 1979 the Trio has been resident in EU countries. The musicians have been participating in such prestigious Festivals as Menton (France), Santander (Spain), Naantali and Kuhmo (Finland), Brescia/Bergamo and MITO Torino-Milano in Italy, "December evenings" of Svyatoslav Richter (Moscow, Russia). They performed in Salle Gaveau and Musée d'Orsay in Paris, Wigmore Hall in London, Teatro alla Scala and Conservatorio Verdi in Milan, Herkulessaal in Munich, Carnegie Hall and Lincoln Centre in New York, Art Centre in Seoul, Concertgebouw in Amsterdam, Big Hall of Moscow Conservatory, St.Petersburg Philharmonic Large and Small Halls and many others. As soloists they are regularly collaborating with such musicians as Tabea Zimmerman, Oleg Kagan, Yuri Bashmet, Natalia Gutman, Misha Maisky, Maxim Vengerov, Julian Rachlin, Anthony Pay, Emmanuel Pahud, Maria Tipo, Yuri Temirkanov, Maxim Shostakovich, Emmanuel Ax.
    [Show full text]
  • A Salute to 75 Years of International Radio Commissioning the Juilliard School Presents
    Focus Festival 2019 OnThe Air! A Salute to 75 Years of International Radio Commissioning The Juilliard School presents 35th Annual Focus Festival Focus 2019 On the Air! A Salute to 75 Years of International Radio Commissioning Joel Sachs, Director TABLE OF CONTENTS 1 Introduction to Focus 2019 8 Program I Friday, January 25, 7:30pm 19 Program II Monday, January 28, 7:30pm 27 Program III Tuesday, January 29 Preconcert Discussion, 6:30pm; Concert, 7:30pm 39 Program IV Wednesday, January 30, 7:30pm 47 Program V Thursday, January 31, 7:30pm 54 Program VI Friday, February 1, 7:30pm 62 Focus Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2019 by Joel Sachs Commissioning artists—paying them to create new art—is a very old story. Without the assistance of those who can afford to help them meet their expenses, artists would be forced to cater to the mass market. The identity of such people or institutions is usually obvious, such as the church or what the British used to call the “nobility and gentry.” In the world that succeeded the old monarchical structure, the role of patron has been assumed by foundations, which are frequently created to conserve the value of an estate; companies wanting to burnish their reputations through generosity to the arts; exceptionally wealthy individuals (not all of them necessarily honorable); and government entities from ministries of culture to local arts councils.
    [Show full text]